Anna Patterson 1. You may identify the stasis in the play but it isn’t necessarily at the beginning of the play. Where is it and who does it involve? NOTE: Do not assume that the stasis of the play is the same as the stasis of the video version that you are required to see. Only discuss the play in this and answers to the following questions. The stasis in the play is how Smith sets up the “scene” for the particular incident on which the play focuses. For example, the interviews in the first half of the play are mostly about topics and issues raised by the incident. They discuss racism, and both the Jewish and black communities in Crown Heights.
2. Ball points out that the intrusion sometimes occurs late in the dramatic action. What is the intrusion that breaks the stasis in Fires in the MIrror and how is it broken? The intrusion happens with the interview with Rabbi Joseph as he discusses when the incident in Crown Heights happened.
3. Why do the events of the play take place at this particular time and place? In other words, what is the unique factor that is out of the ordinary that causes a turn of events to take place? Hint: the unique factor may have something to do with you? How does the title figure in your answer? The unique factor is that the playwright focuses on a particular time and place that takes place after the events spoken of. She does this in order that we might see clearer into what it is to be American and as we all look at ourselves and our own views of the issues in the play.
4. State the dramatic questions that must be answered by the end of the play? (Ordinarily, the dramatic question shares a close connection with the intrusion.) “Can there be justice for either community?”. “Were any them justified in their actions?”. “What is identity?”. “What does it mean to be part of a certain demographic?”.
5. Use the narrator of the work to answer the questions concerning character. Ball says, a character is revealed by what he/she does, ie. The dramatic actions that are taken. Examine what these particular characters wants. The wants of a character often encounter obstacles that get in the way of achieving those wants. Ball says there are 4 kinds of obstacles that frustrate the wants of a character. They are: a. Me against myself, b. Me against another individual, c. Me against society (that is law, social norms, etc.) and, d. Me against fate, the universe, natural forces, God or the gods. In answering these questions be sure to point to the particular obstacles that demonstrate these obstacles facing the narrator. The narrator, I believe, wants to find truth in the narratives, and understand every person who is part of the story. Because people are seldom fully truthful, the biggest obstacle for the narrator is other people, or the characters she is trying to portray. It is a challenge to get to the truth of a person’s actions.
6. The most important information in most plays takes place during theatrical moments. Identify the most theatrical moments in Fires in the Mirror. I think undoubtedly, the most theatrical moments are in the interview with Gavin Cato’s father.
1. You may identify the stasis in the play but it isn’t necessarily at the beginning of the play. Where is it and who does it involve? NOTE: Do not assume that the stasis of the play is the same as the stasis of the video version that you are required to see. Only discuss the play in this and answers to the following questions.
The stasis in the play is how Smith sets up the “scene” for the particular incident on which the play focuses. For example, the interviews in the first half of the play are mostly about topics and issues raised by the incident. They discuss racism, and both the Jewish and black communities in Crown Heights.
2. Ball points out that the intrusion sometimes occurs late in the dramatic action. What is the intrusion that breaks the stasis in Fires in the MIrror and how is it broken?
The intrusion happens with the interview with Rabbi Joseph as he discusses when the incident in Crown Heights happened.
3. Why do the events of the play take place at this particular time and place? In other words, what is the unique factor that is out of the ordinary that causes a turn of events to take place? Hint: the unique factor may have something to do with you? How does the title figure in your answer?
The unique factor is that the playwright focuses on a particular time and place that takes place after the events spoken of. She does this in order that we might see clearer into what it is to be American and as we all look at ourselves and our own views of the issues in the play.
4. State the dramatic questions that must be answered by the end of the play? (Ordinarily, the dramatic question shares a close connection with the intrusion.)
“Can there be justice for either community?”. “Were any them justified in their actions?”. “What is identity?”. “What does it mean to be part of a certain demographic?”.
5. Use the narrator of the work to answer the questions concerning character. Ball says, a character is revealed by what he/she does, ie. The dramatic actions that are taken. Examine what these particular characters wants. The wants of a character often encounter obstacles that get in the way of achieving those wants. Ball says there are 4 kinds of obstacles that frustrate the wants of a character. They are: a. Me against myself, b. Me against another individual, c. Me against society (that is law, social norms, etc.) and, d. Me against fate, the universe, natural forces, God or the gods. In answering these questions be sure to point to the particular obstacles that demonstrate these obstacles facing the narrator.
The narrator, I believe, wants to find truth in the narratives, and understand every person who is part of the story. Because people are seldom fully truthful, the biggest obstacle for the narrator is other people, or the characters she is trying to portray. It is a challenge to get to the truth of a person’s actions.
6. The most important information in most plays takes place during theatrical moments. Identify the most theatrical moments in Fires in the Mirror.
I think undoubtedly, the most theatrical moments are in the interview with Gavin Cato’s father.